frontline
Amy Dietz, partner, Exceleration Music
Formerly a senior exec at UMG’s Ingrooves and Warner’s ADA, Amy Dietz has joined with industry figures from Concord and Merlin to launch Exceleration Music. Here, she reveals plans for big investments in independent music rights...
What is the thinking behind Exceleration? “There’s a ton of money coming into the music space right now, because the financial sector understands there is value in music. We have a group of people that have a diversity of experience and understand the music ecosystem. It’s really about conversations with people who are looking for investment, or looking for a partnership, and helping them build that out while preserving their legacy and vision. So it’s a lot about listening and understanding what those needs are, and having the flexibility to be able to look at different kinds of collaborations. We are focused on supporting the innovation, creativity and vibrancy that comes from entrepreneurs, we want to help that flourish.”
space right now” AMY DIETZ, EXCELERATION
“There’s a ton of money coming into the music
What’s your vision for the company as a force in independent recorded music? “We’ve got various kinds of investments – the partners have invested, there are institutional investments – so we are pretty well situated in that area. We’re looking to make sound investments in these businesses, but the ultimate vision is to help these entrepreneurs and [music] legacies thrive. It’s about, how do we add value to these pieces of art in a way that people understand the stories and the artists? That’s the inspirational part, but there’s also just making sure they understand how to do that – are there efficiencies we can apply that will help them?”
So is Exceleration set to be a disruptive entrant in the market? “We don’t have some remit that’s like, ‘Let’s go shake everything up’, although the group of people that we have are
always looking to be forward-thinking and innovative in those ways. So where there are opportunities to look at doing things differently and not doing things in a status quo way, then absolutely.”
There’s a debate about how streaming has helped artists – what’s your view? “It’s complicated, and we should definitely be having the conversation about how artists are getting paid. But streaming did help stem
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a lot of the piracy that was going on, and it has got us back into a place where people are engaging with music in ecosystems where at least there is payment happening. I have had conversations with people who are now engaging with music in a way that they wouldn’t have previously, because they weren’t going to record stores on a regular basis any more. So it’s bringing in fans of all ages and all areas, because there’s access and it becomes part of people’s lives.”
And how does that help artists increase engagement with fans? “Previously, if somebody bought a CD you didn’t know whether they went home and listened to it once or listened to it 1,000 times – now you can actually see it. That gives opportunities for many of the platforms to get a better understanding of who is there and to really connect with them. I’m interested in the continued innovation and what’s beyond streaming. It’s interesting how it’s become bits and pieces of people’s lives, whether that’s the TikTok moment or other platforms where music is being utilised in those ways.”
Will physical formats continue to be important for indie labels? “Yeah, in this sector physical never went away really. I still have physical music, I still buy vinyl. Actually, this year I did get rid of most of my CDs, because it was a space issue. That was really difficult – they are a moment in time and you have a physical attachment.”
Are there artist campaigns you are particularly proud of during your career? “There are just so many amazing artists and labels that I have had the privilege of working with over the years. At Ingrooves, it was a really interesting time recently with some of the Latin music that was breaking through. At ADA, we were putting out those first records by Arcade Fire, Bon Iver and Bright Eyes. A highlight was working with Iron Maiden when I was at ADA putting out The Book Of Souls record. Working on that and some of those reissues was fun, just because my inner 15-year-old was super-excited.”
Music Week | 11
PHOTO: Emma Cole
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